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13 UMMA Objects
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Cone-shaped cap with flattened top. The cap is stitched with black linear uneven chevron patterns. The bottom of the cap contains four symmetrically positioned flaps. 
Kuba (Kuba (Democratic Republic of Congo style))
Titleholder's hat
1945 – 1955
Museum Purchase made possible by the Friends of the Museum of Art
1985/1.163
A dome-shaped cap with alternating patterns of straight and wavy linear designs. Between the wavy linear designs are spaces allowing one to see through the cap. 
Kuba (Kuba (Democratic Republic of Congo style))
Titleholder's hat
19th century
Museum purchase
1985/2.72

Kuba (Kuba (Democratic Republic of Congo style))
Beaded Miniature Hat
1945 – 1955
Museum Purchase made possible by the Friends of the Museum of Art
1985/1.164
This cap is made from woven fiber with dark purple, dark green, and brown feathers. The feathers face upward and outward, forming a dome-like shape to the cap. Around the bottom edge there is a row of feathers that are longer than those at the middle of the cap. Near the top and center of the cap are long feathers that stick straight up. 
Cameroon (Cameroonian)
Feather Hat
1900 – 1983
Gift of Meryl Pinsof-Platt
1983/1.100
A dome-shaped cap with alternating patterns of straight and wavy linear designs. Between the wavy linear designs are spaces allowing one to see through the cap. The bottom of the cap contains four symettrically positioned flaps. 
Kuba (Kuba (Democratic Republic of Congo style))
Titleholder's hat
19th century
Museum purchase
1985/2.71
This type of hat (<em>gat</em>) was once the most commonly worn men&rsquo;s headgear by Korean aristocratic government officials and commoners. In the mid-Joseon period, they had tall crowns and wide brims. When Heungseon Daewongun (興宣大院君, 1820&ndash;1898), the father of King Gojong (高宗, r. 1863&ndash; 1907) seized power in the late Joseon period, he made the wearing of shorter crowns with narrower brims mandatory. This hat is in good condition despite some losses at the crown. The straps are made of black silk gauze. <p>[Korean Collection, University of Michigan Museum of Art (2017) p. 282]</p>
Korean (Korean (culture or style))
Man's Hat
20th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.317.1

Zulu
Ceremonial Hat (isicholo)
20th century
Gift of Dede and Oscar Feldman
2019/1.276

Korean (Korean (culture or style))
Man's Hat
20th century
Gift of Bruce and Inta Hasenkamp and Museum purchase made possible by Elder and Mrs. Sang-Yong Nam
2004/1.317.2
Dome-shaped cap with two elongated flaps symmetrically opposed on each side of the cap. There is a circular pattern on the top of the hat and the sides are decorated with geometric patterns resembling chevrons.
Kuba (Kuba (Democratic Republic of Congo style))
Titleholder's hat
1895 – 1905
Gift of Marc Leo Felix, Brussels
1986/2.62
Thisi is a miter-shaped hat with a double layer of fabric made from whorls of light-colored cotton applique on dark green velveteen ground. The sides of the hat terminate in red tassels. The front edge of the hat is trimmed with red fabric.
Chief's hat
1925 – 1975
Gift of Dr. Douglas C. Kelley
1997/1.171
This red, felt, miter-shaped hat with lateral flaps terminates in gold-colored tassels. An internal wood frame sewn in to the central spine of the hat keeps its peaked shape. Two figures are delicately embroidered with yellow thread, one on each side of the hat. The figure on its left resembles a lizard with a small round head and long tail. The figure on the right is human and appears to be wearing a costume. A narrow strip of green fabric covers the external, central spine or seam of the hat. The hat's interior is green.
Hat
1925 – 1975
Gift of Dr. Douglas C. Kelley
1997/1.172
A headdress made of woven raffia palm fibers in the shape of a cap and decorated with dark purple and green feathers. The feathers point upward and outward from the cap, while the center of the headdress has a bundle of large, dark feathers. 
Feather Headdress
1800 – 1999
Gift of the Robbins Center for Cross Cultural Communications in memory of Warren M. Robbins
2014/2.78.3
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